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New York: Granary Books, 2009. First edition. One of 40 numbered copies signed by Ashbery & Winkfield (the entire edition). "Though it may have ended up looking like a child's coloring book (albeit one that's already been colored using Technicolor crayons), my original intention was to produce an updated Codex Amiatinus painted by Northumberland monks in the seventh century, not far from where I grew up in the North of England. So much for intentions... though Ashbery's poem has long struck me as liturgical. Is that bowler-hatted bird actually Thomas Traherne? And can that pretty butterfly really be the soul escaping from the body? I've tried to leave my images open to as many interpretations as every single one of Ashbery's words." - Trevor Winkfield. As new. Large, oblong 4to, full-page illustrations in colors by Trevor Winkfield, original cloth over boards, color onlay on both covers, publisher's acetate dust jacket. More

West Stockbridge, MA: Hard Press Inc., 1997. First edition. One of 100 copies signed by the artist & Ashbery. "If all art aspires toward the condition of music, as Pater wrote, Trevor Winkfield must be counted among the most successful artists of all time." - from Ashbery's Introduction. As new. Oblong 4to, illustrated in color, original pictorial wrappers. More

(France): Locus Solus, (1960-1962). First edition, second (trimmed) state of the first volume. Kermani D3. The artist Nell Blaine's set, with her ownership signature on the title-page of each volume. With contributions by Barbara Guest, John Ashbery, Frank O'Hara, Paul Blackburn, Kenneth Koch, Diane di Prima, James Merrill, among many others. Fine set of this important little magazine. 4 volumes, 8vo, original printed wrappers. More

N. Y. E. P. Dutton & Co., 1970. First edition, first issue. "The publisher has stated at different times that 1600 ... or 1798 hardbound ... copies were published ... approximately 50 copies of the hardbound edition were defective and had to be destroyed. As of March 1975, the publisher was unable to account for 471 copies of the hardbound edition." Kermani A17a. Presentation copy, inscribed by Ashbery to Daisy Aldan, editor of Folder: "for Daisy with love John 2/9/70". With the original invitation to the book's publication party at Gotham Book Mart on February 9, 1970, laid in. Sometimes described as "neo-classical," the classicism here is more an arbitrary arrangement of surfaces than an essential aesthetic quality, although the characterization also suggests the growing ease and self-confidence with which Ashbery commands his avant-garde procedures. Including such celebrated poems as "Soonest Mended" and "Sortes Vergilianae", The Double Dream of Spring concludes with the icy grandeur of "Fragment" A fine copy in slightly rubbed jacket with two short closed tears and some minor wear to the top edge. 8vo, cloth-backed boards, dust jacket. More

N. Y. Viking, (1977). First edition, with erratum slip laid in. Presentation copy, inscribed by Ashbery to Ted Berrigan and his wife Alice Notley on the title page: "for Alice and Ted, Love, John, 9/20/77". With Berrigan's ownership signature on the front free endpaper and the incorrect line on p. 83 crossed out. In a statement that is apposite here, David Shapiro noted that "Ted (Berrigan) felt, with Stevens, that poetry was vital and experimental. That is why there are more connections between the poetry of say Berrigan and Ashbery than between that of Berrigan and many of his so-called disciples or friends" Fine copy. 8vo, original cloth-backed boards, dust jacket. More

N. Y. The Grenfell Press, 1998. First edition. Limited to 100 copies signed by Ashbery and Winkfield (the entire edition). An early prose poem, dating from 1954, only recently discovered by the poet David Lehman. Reviewing Novel in On Paper, Jed Perl calls this dashingly elegant book "a double-headed imaginative caprice ... a carefully calculated flippancy, which is a modern kind of seriousness" As new. 4to, illustrated with ten drawings by Trevor Winkfield, original silk-screened cloth. More

N. Y. The Grenfell Press, 1998. First edition. Limited to 100 copies signed by Ashbery and Winkfield (the entire edition). An early prose poem, dating from 1954, only recently discovered by the poet David Lehman. Reviewing Novel in On Paper, Jed Perl calls this dashingly elegant book "a double-headed imaginative caprice ... a carefully calculated flippancy, which is a modern kind of seriousness" Very fine copy. 4to, illustrated with ten drawings by Trevor Winkfield, original silk-screened cloth. More

Calais, VT: Z Press, 1978. First edition. One of 26 lettered copies signed by Ashbery out of a total hardcover edition of 500 copies printed at The Stinehour Press. Fine copy. 8vo, original cloth, dust jacket with cover design by Joe Brainard. More

Calais, VT: Z Press, 1999. First edition. One of only 26 copies with the original seven-color linoleum cut frontispiece signed by the artist & the colophon signed by the poet out of a total edition of 226 copies printed in Bembo type on Zerkall & Fabriano paper by The Grenfell Press. In the regular issue, which is unsigned, the frontispiece is a reproduction of the original print. As new. 8vo, frontispiece, original wrappers with printed label. More

London: Faber, (1930). First edition of Auden's first regularly published book. One of 1000 copies printed. Bloomfield & Mendelson A2a. Signed by Auden using his full name on the title-page. Although signed copies of Auden's later publications are not uncommon, signed copies of Poems are rare. Wrappers slightly rubbed and faintly dust-soiled, one shallow nick at top of back panel of wrapper, otherwise a very good copy of this fragile book. 8vo, original pale blue printed wrappers. More

London: Faber, (1930). First edition of Auden's first regularly published book. One of 1000 copies printed. Bloomfield & Mendelson A2a. Apart from a hairline split about an inch long at the base of the spine along the rear outer hinge and a minute amount of wear at the corners, a very fine clean copy - one of the finest copies we have seen - with the publisher's advertisement flyer laid in. 8vo, original pale blue printed wrappers. More

London: Faber, (1940). First edition, one of 3550 copies printed. Signed by Auden on the title page beneath his scored through printed name. Bloomfield & Mendelson A23. Fine copy in slightly sunned jacket. Small 8vo, original printed boards, dust jacket. More

N. Y. Sea Cliff Press, 1989. First edition. One of only 15 copies specially bound in full vellum & printed on Saunders Mold-Made Cream with endpapers printed on Moriki from a block by Dean Bornstein (out of a total edition of 150 copies printed). Very fine copy. 8vo, original sepia-tone photograph of Auden tipped-in as frontispiece, decorated endpapers, full vellum with leather spine label. More

Baring-Gould (1834-1924) was an Anglican priest and a prolific writer in many genres, including novels, ghost stories, and a 16-volume The Lives of the Saints, as well as a collector of folk songs. He is best remembered for his hymns, the most famous of which is "Onward, Christian Soldiers", though "Now the Day Is Over" (1867) was scarcely less popular and is a fine example of Victorian religious expression. Folded perhaps from mailing, the manuscript is in fine condition. Framed and glazed. More

London: Weidenfeld and Nicolson, (1985-6). First editions thus. Each volume signed or inscribed by the author. Volume I contains an original pen drawing by Barker. Fine set. 6 volumes, 8vo, boards, illustrated dust jackets by Barker. More

(Rochester, NY): The Press of the Good Mountain, 1982. First edition. One of 85 numbered copies printed on Tovil paper, out of a total edition of 110 copies printed. As new. 8vo, accordion-fold, marbled boards, slipcase. More

One of the richest and most ancient of symbols, the ram – symbol of Aries in the Zodiac – represented power and authority, as well as fertility, creativity and rebirth. The ram that Abraham found trapped in a thicket on Mount Moriah and that he sacrificed in place of his son Isaac later came to symbolize Jesus Christ, and remains perhaps the most famous ram in literature; and the ram’s horn, the shofar, was an important part of Jewish history and ritual. Leonard Baskin was preoccupied with the Old Testament story of Abraham and his son Isaac during the mid-1970s and created three major sculptural works based on the story, including “Isaacangel”, “Abraham” and “Ram”, which were associated with a group of “divinator and prophet figures” that Baskin created at the time. – Irma B. Jaffe, The Sculpture of Leonard Baskin (NY.: Viking Press, 1980), p. 192. A beautiful bronze, in fine condition. More

London: Blackamore Press; N. Y.: Random House, 1930. First edition. Limited to 400 numbered copies, of which 250 were for sale by Random House in the United States. Covers very slightly soiled, otherwise a fine copy. 8vo, original blue cloth. More